Warstwy Nr 2 (2018)

URI dla tej Kolekcjihttp://repozytorium.ur.edu.pl/handle/item/6263

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Dialogi, mosty...
(Wydział Sztuki UR, 2018-12) Sawicka, Jadwiga
O artystycznym i estetycznym pożytku z kategorii warstwy. Przyczynek do ontologii dzieła sztuki Nicolaia Hartmanna
(Wydział Sztuki UR, 2018-12) Mordka, Artur
The article attempts to analyze the aesthetic and artistic meaning of the layer category. The author has chosen it as the subject of his analysis, as it is part of the research on aesthetics by Nicolai Hartmann; however, it can also be used to clarify the creative process. The first part of the article discusses the notion of a layer that Hartmann uses, moving on to the considerations which include the unity of a work of art, its manner of existence and sensual (visual) appearance of irreal content.
Wybrane zjawiska sztuki renesansu a przemiany samowiedzy człowieka epoki nowożytnej w ujęciu Charlesa Taylora
(Wydział Sztuki UR, 2018-12) Nowicki, Paweł
This article aims to discuss Charles Taylor’s views included in Sources of the Self, concerned with the changes in European art during the Renaissance presented as an outcome of the changes in the understanding of human identity. The author’s significant assumption is a thesis that historical changes in human self-knowledge find a reflection in art, especially in the construction of a painter’s plan, the position of an observer, the manner in which the observed object is presented. The answers to the questions: Who is looking? Where does the perspective open? etc. are vital for analyzing works of art treated as exempla of anthropological and epistemological problems. Important points of reference next to Taylor’s Sources of the Self are H. Wölfflin’s Principles of Art History, N. Elias’s Involvement and Detachment and Ch. Taylor’s Diálogos Taylor y Bernstein.
Veritas sequitur esse rei... Biczowanie Piero della Francesca Diegesis w Pamięci Włoch Wojciecha Karpińskiego
(Wydział Sztuki UR, 2018-12) Trygar, Barbara
This article is concerned with the text A Memory of Italy by Wojciech Karpiński, in which the author refers to the painting Flagellation by Piero della Francesca. The author of the article analyzes Karpiński’s reflections on the painting in the context of the philosophy of Saint Thomas Aquinas. In the painting the linear structure is important (the methodology of mathematical proceedings, among others according to Plato), the situation, the degree of distance which determines the perception of things, people and the world in the literal, spatial, and also metaphorical and psychological sense. The sensual cognition of corpus mysticum Christi is the starting point of epistemology, a key moment of the theory of the cognition of God.
Władza nad martwą naturą. Cézanne Herberta
(Wydział Sztuki UR, 2018-12) Adamowska, Joanna
This article is an interpretation of Zbigniew Herbert’s poem Still Life, taking into account a lot of contexts, e. g. the references to Cézanne’s life, work and its reception present in the poem, Herbert’s other opinions on the artist’s work, as well as the earlier interpretations of the poem (by Roman Bobryk and Magdalena Sniedziewska). The author of the article shows how in the poem on Cézanne Herbert presents one of the major problems of his own work, i. e. the relations between art and transcendence, between the divine and the human.
Asceza utraty – asceza nadziei. O rysunkach Zbigniewa Herberta
(Wydział Sztuki UR, 2018-12) Makiel-Hędrzak, Marlena
Zbigniew Herbert’s oeuvre, apart from literature, includes a number of sketchbooks, in which the poet-traveler noted down important aspects of places and works of art. What fascinated him the most was drawing, in which Herbert used characteristic, synthetic form. The fascination with letters, their forms, and further – inscriptions, is manifested here in examining the line as the most direct notation. That sphere of the poet’s work was an open dialogue with the themes of poems, completing them as it were. Both in poetry and in visual arts Herbert was interested above all in the correspondence of thoughts, in a dialogue without time limits, as thoughts and feelings are not hermetic; one cannot close them in temporal forms, they are usually dialogical. The drawings use the line which simultaneously names, synthesizes, experiences emotions, asks questions, contemplates, playing the role of a sui generis ekphrasis of nature and things.
Od „futuryzacji” do „No future”. Futuryzm i ruch punk jako samobójstwo kultury
(Wydział Sztuki UR, 2018-12) Juszczyk, Andrzej
The article focuses on comparing two distant phenomena in Polish culture: futurism and the punk movement. Formal similarities at first glance may not be striking, but the sense of the “punk” movement largely places it as the inheritor of a kind of anti-culture, created by the futuristic movement and aimed at the economic and cultural establishment. The article presents key features of futurism and punk culture: negation of tradition, aesthetic and moral anarchy, ideology of youth, radicalism and ostentation in activities. As a result, both phenomena turn out to be a manifestation of youth non-conformism caused by a specific social situation.
Słowo-obraz w przestrzeni. Poezja w projektach site-specific. Komentarz do twórczości Joana Brossy oraz Iana i Aleca Finlayów
(Wydział Sztuki UR, 2018-12) Hołody, Miłosz; Krzosek-Hołody, Magdalena
The article explores the role of visual poetry in site-specific projects. The authors analyze the contribution of avant-garde movements of the second half of the 20th century to the development of object-poems and their migration into the landscape and public space. They focus on the heritage of futurism, land art. and contextual art. The paper presents classic works of Ian Hamilton Finlay and Joan Brossa as well as recent projects by Alec Finlay.
Ile jest sztuki w terapii przez sztukę? Wielogłos specjalistów o teoretyczno- -praktycznych aspektach arteterapii
(Wydział Sztuki UR, 2018-12) Steliga, Anna
Creation has been inextricably connected with human activity. Therefore we can, and even should, call every human a creator. These considerations have been narrowed down to a group of artists with mental disorders. Schizophrenics create as a result of their own creative needs, but also as part of art therapy. This article includes a series of opinions on art therapy: reflections on mutual relations of art and therapy voiced by experts, i. e. psychiatrists, visual artists, pedagogues, art teachers, special needs educators and art psychologists. The text also discusses the fields of art which are most frequently used in art therapy. i. e. drawing and painting. The artwork of people with mental disorders shows their mental state, presents their inner world, and art therapy can help them to improve the communication with the outer world and with themselves.
Kto mówi – miejsce autora w filmie
(Wydział Sztuki UR, 2018-12) Iskra-Paczkowska, Agnieszka
The category of the „author” in art can be considered in a descriptive or normative sense. In the normative sense it was introduced by the so-called „author’s politics” from the 1950s and 1960s. In the descriptive sense, it is the choice of the narrative model – ”transparent” or „author’s”. The inspirations for the cinema were both self-themed threads (in the film), and the other arts: painting and literature. In conclusion, the author attempts to answer the question, what is the status of the author in contemporary cinema.
Pożytki z teatru. Na przykładzie realizacji teatralnych Artura Żmijewskiego i Zorki Wollny
(Wydział Sztuki UR, 2018-12) Sawicka, Jadwiga
The article discusses using theatre in the practice of visual artists based on the cases of two artists. It presents different goals with which that medium has been used: in the staging of a Catholic Mass in theatre by Artur Żmijewski, and in playing the role of Ophelia by eleven actresses of different ages in a performance directed by Zorka Wollny. Considering the previous work of the two artists, one may say that theatre-related projects have been part of the interests and practice of both of them. They are both interested in working with people, yet the aim of Żmijewski’s experiment was affecting the audience and Wollny’s one – emancipation of the actresses and the text.
Sztuka młodych jako przestrzeń dialogu wewnętrznego. Refleksje na temat pewnej tendencji w trzech krótkich wspomnieniach
(Wydział Sztuki UR, 2018-12) Pokrywka, Przemysław
The Solvay Cracow Center for Contemporary Art is a culture institution promoting young artists. In the past decade it has exhibited a few dozen projects by students and graduates of art academies. The wide range of interests and characters has created a colorful mosaic of artistic stances. It is against this background that the author of this article presents three artists, who, due to their intellect and talent, are intriguing art personalities. They are not anonymous in the younger generation of Polish art, however they seem to be staying on its sidelines. The author presents Michał Marek, an artist connected with Wrocław, who has exhibited a collection of incomplete, crisscrossed paintings – evidence of a crisis an artist faces on his way. The article also presents Arkadiusz Andrejkow, who in the fall of 2012 showed in the Centre a painting exhibition titled “Family matters”, inspired by photographs found in an old wardrobe. Faced with images of his nearest and dearest, cultivating the memory of his relatives, Andrejkow provokes the viewer into a deeper reflection on the problem of transition and one’s own identity, often difficult in a historical context. The third artist is Kamil Kuzko, who consciously rejects current trends and fashions. In his works one can see a whole range of solutions reminiscent of Orthodox icons and frescoes. Of special interest is his schematic presentation of male faces, many of tchem being the artist’s self-portraits, whose form is modeled on the art of Eastern Church.
Wielowymiarowość rozmowy w twórczości artystek sztuk wizualnych w Polsce
(Wydział Sztuki UR, 2018-12) Sulikowska-Dejena, Agata
The article discusses various aspects of conversation present in the work of many contemporary Polish female visual artists. A conversation may perform various roles and take place on different planes; it can be the essence of a project, its element or a major tool necessary to bring it about. Words make up a coherent tale or, taken out of context, condense the tale in but a few letters. The common element of the artworks presented in this article is their very personal dimension. Female artists talk about things extremely subjective and private, as they believe that their experience is universal, shared by thousands of women, and it only takes creating an appropriate plane in order to start talking. The space which helps here is often an art gallery: it is there that the tales of the artists are heard. This article presents the works of female artists in which dialogue has played a leading role.
Formy przejściowe
(Wydział Sztuki UR, 2018-12) Bińczycki, Paweł
The article is an author’s commentary on the cycle of graphics (under the same title) as well as an analysis of earlier work, indicating its significance and influence on current artistic decisions. Further on, the text describes the cycle itself, explaining the titles of particular works and justifying the decisions taken in the process of creating them. The last part, emphasizing the key moments of the process of creating graphics, describes experiences with method, dividing the process into particular stages, each of which is discussed in detail.
Krajobrazy, Strefy, Tablice. Jonasz Stern – abstrakcja biologiczna (w 30. rocznicę śmierci – przypomnienie)
(Wydział Sztuki UR, 2018-12) Łątkowski, Marek
The article concerns the painting projects by Jonasz Stern, an artist whose work is part of the current of meaningful abstraction. His collage compositions present variants of seeing what gives in to transition and dematerialization. They are made up with diverse means and natural materials, opening peculiar visual spaces, with structures made up of animal bones, fish bones and skins and bird feathers. Stern’s artistic life is evidence of verifying avantgarde through a creative struggle with personal fate. What significantly influenced his art was a dramatic event from his life – surviving an execution and escaping death in the Janowski camp in Lviv. 2018 is the 30th death anniversary of the artist, who died on 2 August 1988 in Zakopane, two days before his 84 birthday.
Między sportem a sztuką. Sylwetka Wiktorii Goryńskiej
(Wydział Sztuki UR, 2018-12) Szajna, Gabriel
The aim of this article is to show a theoretical perspective of humanistic anthropology of sport. It discusses the self-creation of Wiktoria Goryńska’s personality and her artistic work. The text looks at the symbiosis of art and sport, using a case study, an analysis of historical facts, a comparative method and an analysis of the literature on the subject. Presenting Goryńska in the sphere of her self-expression in art and sport proves that she was extremely active socially, pursuing the common good. She is an outstanding figure in Polish culture.
Realizm radykalny Luciana Freuda
(Wydział Sztuki UR, 2018-12) Boruta, Tadeusz
The article explores the painting of Lucian Freud. The author observes that Freud’s painting is very academic. It is not academicism understood as a trend in art. hedged with rules, hierarchy of themes, the ideal of neo-classical form and the idea of beauty. Indeed, Freud’s painting can be said to be diametrically opposed to any classicizing styles. The author believes the academicism of the artist’s attitude might stem from his style of work taken from the tradition of nineteenth-century art schools. It is reflected in his careful examining of reality. Artistic development is based on hard work, watching nature and studying Old Masters. Lucian Freud is not an avant-garde artist. After his initial fascination with surrealism he avoided any artistic fashions of the past half-century. He does not attempt to change or improve the world with his paintings. He does not fight anyone, nor does he try to engage art in the “correct” social and political ideas. He assumed the stance of a portrait painter, seeing himself as a mere observer. With time, Lucian Freud’s painting would become thicker, more texture-oriented, particularly thickening the paint on the faces and genitals. The bodies, which are again clothed in a thick “painting skin”, are often shown in bold, suggestive poses, often intimate, almost always with a strong expression of existential tension. Presenting nudity in an increasingly bold way, he by no means seeks to shock the viewer with eroticism. The resulting tension stems from the proximity which the artist admits the viewer to through his work, and from the fact the relation is unprotected. Freud’s late work is radical realism, with no meaningful poses, telling gestures, symbolism or lyricism; there is only the painted object, usually a nude figure, and the space of the studio.
Nowe spojrzenie na wątki ikonograficzne w twórczości Grzegorza Bednarskiego i Tadeusza Boruty
(Wydział Sztuki UR, 2018-12) Rucka-Marmaj, Dorota
Looking at the art of Grzegorz Bednarski and Tadeusz Boruta, we enter an area of searching for values and the truth. The artists with heightened religious, intellectual and artistic awareness reach freely for fundamental themes, finding in them an inexhaustible source of inspiration. The reality they create sparkles with diversity and abundance of iconographic motifs taken from religious painting of the centuries gone by. From the beginning of their artistic way with its roots in independent culture, they focused on putting issues in the context of theology, on guiding one towards the elements facilitating the proper identification of the subject of the presentation, finally, on showing its multi-aspect immersion in European iconographic tradition. What must have influenced creating a new look at Christian iconography is the curiosity and courage of the artists, their desire for cognition – for probing into and exploring one’s own existential space. Getting to God and discovering him – emphasizing religiousness through prosaic, completely secular elements.
Noty o miejscu
(Wydział Sztuki UR, 2018-12) Pasterski, Janusz
Tamara tańczy kozaka. Z dziejów późnej przyjaźni z profesorem Leszkiem Rózgą
(Wydział Sztuki UR, 2018-12) Szuber, Janusz

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Przeglądanie Warstwy Nr 2 (2018) według Data dodania